soundbytes · Early Music America Winter 2008 5 soundbytes Compiled by Angela Fasick Appointments,...

Early Music America Winter 2008 5

soundbytesCompiled by Angela Fasick

Appointments, Grants & AwardsThe Julliard School has

appointed Baroque violinistMonica Huggett as artisticdirector of the school’s new

historical performance pro-gram, with classes set to beginin Fall 2009. Other faculty forthe program include CynthiaRoberts (violin, viola),Phoebe Carrai (cello), RobertNairn (double bass/violone),Sandra Miller (flute), GonzaloXavier Ruiz (oboe), DominicTeresi (bassoon), KennethWeiss (harpsichord), andRobert Mealy (violin, cham-ber music coach).

Robert Birman, formerexecutive director of Philhar-monia Baroque Orchestra,left his position with thatensemble in September tobecome chief operating offi-cer of the Louisville Orches-tra in Kentucky. PBO generalmanager Cindi Hubbard willserve as interim executivedirector while a nationalsearch is conducted.

In July, Bálint Karosi,organist and minister ofmusic at The First LutheranChurch of Boston, wasawarded first prize in the 16thInternational Johann Sebast-ian Bach competition for

organ, an event held inLeipzig, Germany. Karosi, 29,is the first American-basedorganist to win the top prize.A citizen of Hungary, Karosistudied at Budapest’s LisztAcademy and at the Conser-vatoire in Geneva andreceived an artist’s diplomaand masters degree fromOberlin College.

Jan Van den Bossche, out-going director of the UtrechtEarly Music Festival, will takeover the leadership of theFestival Música Antigua inBarcelona. He will be suc-ceeded in Utrecht by Xavier

Vandamme, currently respon-sible for early music concertsat the Center for Fine Arts,Brussels. Vandamme’s tenureis to begin next May.

At the 41st annual ASCAPDeems Taylor Awards cere-mony on December 9, theMedia Award will honor TheEnd of Early Music: A PeriodPerformer's History of Music forthe Twenty-First Century byBruce Haynes (Oxford Uni-versity Press), along with thebook’s companion websitedesigned by Norm Hirschy.(See review, EMAg, Summer2008, page 52.)

La Donna Musicale’sLaury Gutiérrez was chosento participate in a portraitexhibit celebrating GreaterBoston’s leading women. Herportrait (with viola da gamba)will be displayed at the Col-lege Club of Boston alongwith other “leading women

Boston’s Handel and Haydn SocietyNames Christophers as Artistic Director

The Handel and Haydn Society hasappointed Harry Christophers as its artisticdirector, the 13th artistic leader in theSociety’s 194-year history. Following a yearas artistic director designate, Christopherswill take the Society’s artistic helm in the2009-2010 season.

Christophers first led the Society at the Haydn Festival in Eisenstadt, Austria, in 2006. Since then, he has appearedregularly with them to critical acclaim. In 2007, the Boston Globe hailed Christo -phers’ interpretation of the Society’sMessiah as a “revelation.” He and the Society launched the 2008-09 season at Symphony Hall in earlyOctober with “Celebrate Handel!” a program of anthems and arias featuring soprano Gillian Keith.

Commenting on the appointment, executive director Marie-Hélène Bernard said, “Harry’s work withthe group has shown true synergy, a common goal to create excitement in each and every liveperformance, and a shared passion for authenticity. His appointment launches a new era, one that willhonor the Society’s long-held commitment to musical excellence and to education and communityinitiatives.”

“I am thrilled to continue my relationship with the Society’s outstanding choral and instrumentalmusicians,” said Christophers. “Together, we will seek to enrich the concert experience with authenticinterpretations of the core repertoire while also presenting innovative programs of less familiar worksand composers from this exceptional period of music.”

Christophers and the Society plan to launch annual releases of commercial recordings, expand theSociety’s international touring schedule, and explore concert opportunities in underserved NewEngland markets.

Monica Huggett

who have made positive contributions to the culturallandscape of Massachusetts,”including Martha Coakley,Massachusetts attorney gener-al, and Doriot AnthonyDwyer, former principal fluteof the Boston SymphonyOrchestra.

At the Toronto Interna-tional Film Festival in Sep-

tember, the City of Toronto-Citytv Award for Best Can -adian Feature Film went toRodrigue Jean’s Lost Song, star-ring early music vocalist SuzieLeBlanc as Elizabeth, a newmother coping with depres-sion. The jury described thefilm as “constantly surpris-ing” and “profound, master-ful, and devastatingly sad.”

Apollo’s Fire received a$25,000 American Master-pieces grant from the Nation-al Endowment for the Artsfor music director JeannetteSorrell’s new crossover pro-gram, “Come to theRiver: An Early AmericanGathering.” The project, slat-ed for summer 2009, involvesseven Ohio performances,

touring throughout NorthAmerica, and a CD recording.Repertoire includes shape-note hymns, Southern harmo-ny, American ballads, andNew England barn dances,with featured performers NellSnaidas and Sandra Simon(soprano), Scott Mello(tenor), and Paul Shipper(bass). Apollo’s Fire was one

SOUNDbytes

6 Winter 2008 Early Music America

Physicians, they say, are oftenbadgered at cocktail parties byfellow guests who want to getfree expert advice and ask abouttheir back pain. Believe it or not,musicologists also have to beready with answers to impossi-ble questions: Isn’t it true thatMozart is a greater composerthan Bach? Why does Renais -sance music all sound alike?What’s the oldest Gregorianchant? Some questions are goodones with impossible answers,and some are impossible ques-tions with no answers, or simply“Yes, Mozart is better.” Peoplesometimes just want to hearfrom an “expert,” and the word“musicologist” certainly soundsfancy enough.

I write this column in Sep -tem ber as I prepare to return tothe United States after four bliss-ful months in Italy. And in thenewspaper, that overpriced ragthe International Herald Tribune,I find a full-page spread advertis-ing a BBC World News TV seriescalled “Visionaries,” the firstepisode of which is “Bach versusHandel.” Each composer has anadvocate in the “great debate...drawn from the worlds of film,theater, music, and comedy”;there’s also a referee. Viewerscast votes to determine which ofthe two composers was the

greater visionary. The oppo-nents: Tim Minchin, Australiancomedian, songwriter, and actor,for Bach and “the noted actorand comic” Alexander “Xander”Armstrong advocating for Handel(as if they needed advocates).

There’s also along explanation,in small type, ofBaroque music. Itincludes sen-tences like “MostBaroque com-posers never hesi-tated to use atorrent of noteswhen just onewould do.”

I don’t know whether tolaugh or cry. Surely it is a GoodThing when the newspaper hasa full-page spread on Baroquemusic; surely it is a Good Thingwhen we are reminded of thegreatness of these two “visionar-ies.” And the advocacy of per-sonalities from the “worlds offilm, theater, music, and come-dy” is surely a Good Thing andmight go a long way towardsconvincing the readers, and theBBC’s viewers, of the spectacularbeauties, the passionate rhetoric,and the dancing rhythms ofBaroque music.

And yet it’s awfully hard todo that in words. I have the priv-

ilege, and the challenge, of try-ing to introduce Baroque musicto college students, and it’s noeasy thing. Especially if you startwith the generalities, nobodygets it (“Age of Thoroughbass,”“Doctrine of the Affections,”

“Fortspinnung,”“StandardizedDance Patterns”).It’s not the talk,it’s not the“advocates,” it’sthe music thatdoes the job. Ifyou listen to a lotof pieces, you’llcatch on to theidea of thorough-

bass pretty quickly, and theother generalities will fall intoplace, too.

The real trick is getting peo-ple to listen to the music. News -papers can’t sing or play suites;college textbooks can’t either.

And so, maybe advertising iswhat’s needed. Maybe earlymusic needs a superstar. Maybesome people hoped that Stingwould provoke a worldwideinterest in Dowland, and thebeauties of lute-song, and theamazing richness of Renaissancelute music. Maybe some peoplehoped that the monks of Silossome years ago, or the monks ofHeiligenkreuz nowadays, would

spark a revival of interest in thebeauties of Medieval chant.

There are those who remem-ber when tennis was a sportplayed exclusively in posh clubsby overbred Easterners and bypeople at Wimbledon. Andthen, in the 1970s, along cameJimmy Connors, the superstarbad boy of tennis. Overnight hisexploits became everybody’sgossip, and tennis became auniversal sport that has contin-ued to have celebrities. Earlymusic could do with its ownJimmy Connors.

I do wish the BBC the best ofluck, and I hope that their serieswill work wonders in the worldof music. Having seen only theprint advertising, I’m afraid Ihave my doubts.

Thomas Forrest Kelly is a professor of music at HarvardUniversity and a board memberand past president of EarlyMusic America.

by Thomas Forrest Kelly

EARLYMUSIC

MUSINGS

Bach Versus Handel on the BBC

Each composer hasan advocate in the“great debate...drawn from theworlds of film,theater, music, and comedy.”

of only two organizations inOhio to be awarded an Amer-ican Masterpieces grant. Theorchestra also recentlyreceived a $20,000 sponsor-ship from the Cleveland Clin-ic for outreach and education-al activities.

Jeffery Kite-Powell, pro-fessor of musicology at theFlorida State University col-lege of music since 1984 andchair of the musicology divi-sion since1996,retired inAugust2008. Hebuilt theearly musicprograminto one ofthe largest in the country, andits concerts were often thehighlight of national andregional conventions. Hisvocal ensemble CantoresMusicæ Antiquæ was invitedto perform on NPR’s Millenni-um of Music on two occasions.Kite-Powell plans to continuehis scholarly activities, trans-lating early treatises fromGerman into English, and toconduct performances ofearly music in the community.

Harmonia has been pickedup by WGBH in Boston,which will air the program onSaturday mornings at 6. Whilethis may seem like a rather lit-

eral interpretation of the term“early music,” Boston NPRlisteners were for many yearsaccustomed to starting theirdays with early music, as thelate Robert J. Lurtsema alwaysfeatured early music in thosefirst few hours (after thefamous “bird chirps” thatbegan the broadcast day).

Annalisa Pappano (Cata-coustic Consort) received anappointment as instructor ofviola da gamba at the Univer-sity of Cincinnati College-Conservatory of Music.

Richard Egarr, harpsi-chordist, conductor, anddirector of London’s Acade-my of Ancient Music willserve as artistic advisor to theBach Collegium San Diego.In the current season, Egarrwill perform Bach’s GoldbergVariations and conduct Han-del’s Theodora.

On TourThe Early Music Guild is

bringing La Venexiana’s semi-staged production of Monte -verdi’s L’Orfeo to Seattle inearly February 2009 for itsonly U.S. appearance in thecoming year. Touring fromItaly with soloists, chorus, and 30-piece period instru-ment orchestra, the produc-tion has garnered ecstaticreviews throughout Europeand won the Editor’s Choice


La Venexiana in L’Orfeo

Kite-Powell

award in England’s presti-gious Gramophone magazine.

In October, principalmembers of PhilharmoniaBaroque Orchestra (SanFrancisco, CA) went on theroad with Dutch recorder vir-tuoso Marion Verbruggen,making stops at Music before1800 in New York City andEarly Music Now in Milwau-kee, WI.

The British vocal groupStile Antico will join Sting ona tour of Australia and Asia,performing music fromSting’s Songs from the Labyrinth.The tour opens at the SydneyOpera House in Novemberand will travel to Brisbane,Melbourne, Perth, KualaLumpur, Singapore, HongKong, Dubai, Tokyo, andOsaka.

In September, the RoseEnsemble gave performancesin France by the invitation oftwo international choral festi-vals. As part of the Festivald’Ile de France, the grouppresented “La Dernière Reined’Hawai (“The Last Queen of Hawaii”) in Paris; theirconcert at the Festival deMusiques Anciennes in Toursoffered early Slavic repertoire.Upon their return to St. Paul/Minneapolis, they openedtheir season with “CelestialHarvest: Music for the Endof Time,” October concertsof Medieval and Renaissancevocal works. One of theseperformances was the open-ing concert for Vatican Splen-dors (from St. Peter’s Basilica,the Vatican Museums, and theSwiss Guard), a national touring exhibition on displayat the Minnesota HistoryMuseum.

Media NewsLe Triomphe de l’Amour’s

recording of the trio sonatas,Op. 41, by Boismortier, for-merly only sold in Brazil, isnewly available as a downloador A Casa Discos CD atAma zon.com. Performers inthe Princeton-based groupinclude Laura Rónai and Tom Moore, Baroque flutes,Donna Fournier, viola dagamba, and Janet Palumbo,harpsichord.

During its recent overseastour Tafelmusik’s CD L’estroarmonico was released for thefirst time in Asia, and the tele-vision documentary The FourSeasons Mosaic was broadcaston Shanghai TV with Man -darin subtitles. Filmed in 2004in China, India, the CanadianArctic, and Toron to, The FourSeasons Mosaic was producedby Canada’s Media Headquar-ters and is available fromDeutsche Harmonia Mundi.

Counting CandlesBoston vocal ensemble

Blue Heron, directed by ScottMetcalfe, opened its 10thconcert season in Octoberwith a program of musicfrom the Peterhouse part-books, including works byThomas Tallis, Robert Jones,John Taverner, and HughAston. Copied around 1540-41, the partbooks containnearly 50 unique works thathave been unheard for cen-turies but have recently beenmade performable once againthanks to the reconstructionsof the English musicologistNick Sandon.

The Arcadia Players 20thseason opened in Septemberin Northampton, MA, with its


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Baroque Ensemble (Christo-pher Krueger, flute; LisaRautenberg, violin; Alice Rob-bins, viola da gamba; Ian Wat-son, harpsichord) performingTelemann’s Paris Quartets.The Arcadia Players ChamberEnsemble (Peter W. Shea,

tenor; Rautenberg; KivieCahn-Lipman, cello; MonicaJakuc Leverett, fortepiano)followed this with a concertof music by Beethoven and his contemporaries atDeerfield Academy.

Boston Baroque opened

Helping HandsIn October, several performers assembled in New York’s

University Club for a fundraising concert to support medicalresearch to find a cure for brain tumors. The program includedBach sonatas performed by harpsichordist Andrew Appel andviolinist Ryan Brown, as well as selected Mozart arias andensemble pieces performed by soprano Jessica Gould, mezzo-soprano Virginia Warnken, tenor Rufus Müller, bass BranchFields, and others, accompanied by the Clarion Music Societyunder the direction of Steven Fox. The operatic selections weredrawn primarily from Don Giovanni and Die Zauberflöte, twoworks whose themes of triumph over malevolence parallel thehopes of those who struggle against a disease. Performing inmemory of parents, relatives, colleagues, and friends who havesuccumbed, and to honor the courage of those still afflicted, themusicians donated all proceeds to The Gruson Fund, a non-profitorganization dedicated to supporting research to advance thetreatment and eventual cure of brain tumors.

In Mulieribus, the Portland-based early music vocalensemble, has partnered with Loaves and Fishes Cherry BlossomCenter. This non -profit organization,which provides hot,nutri tious meals tothose 60 and over,will receive aportion of all ticketsales from IM’s2008-09 season.

Blue Heron

PHOTO: LIZ LINDER

its 35th anniversary season inOctober with Handel’s Xerxes,featuring male sopranoMichael Maniaci in the titlerole. Music director MartinPearlman can count that ashis sixth Handel opera forBoston Baroque. SopranoAva Pine made her debut withthe group as Romilda, Xerx-es’s love interest.

The Orchestra of NewSpain’s 20th-season opener inDallas featured Mozart’sPiano Concerto No. 20 in DMinor. Fortepianist LuisSanchez joined the ensemblefor the September concert.

This year, the Los AngelesBach Festival – the oldest cul-tural festival in the city – cele-brated its 75th year with twoOctober weeks of concertsand events. The festivalopened with an all-Bachorgan concert and concludedwith a celebratory perform-ance of the Mass in B Minor.Con Gioia early music ensem-ble (with Stephen Schultz,flauto traverso, and Preethi deSilva, harpsichord and forte -piano) was among the per-formers, offering its program“Bach, Baroque, and Beyond”at the First Congre gationalChurch of Los Angeles.

In October, Seattle’sGallery Concerts began its20th-anniversary season with“Italia con Amore!” – cham-ber music by Vivaldi, Corelli,and Scarlatti performed byEnsemble Electra (VickiBoeckman, recorder; TeklaCunningham, violin; and Jillon Stoppels Dupree, harpsichord).

In September, Tafelmusikopened its 30th-anniversaryseason in Toronto with “Vival’Italia,” a program of musicfrom the Italian Baroque.

Aestival &Festival NewsIn August, Opera Omnia, a

new company based in NewYork City, presented Mon-teverdi’s L’Incoronazione di Pop-pea in an English translationwith period instruments andmodern staging at Le PoissonRouge, a “multimedia artcabaret” on the site of theformer Village Gate.

In July, the Capitol HillChamber Music Festival pre-sented a solo flute extrava-ganza with Jeffrey Cohan,who played 14 flutes from theRenaissance through modernperiods. Cohan was thenjoined by clarinetist RichardSpece and harpsichordistJoseph Gascho for anotherconcert entitled “ClassicalPotpourri.”

As part of its “Opera Early& Ancient” series, San Fran-cisco Renaissance Voices(Todd Jolly, music director)joined with bansuri flutistDeepak Ram, Celtic harpistDiana Rowan, and choreogra-pher/Kathak dancer PurnimaJha for Hildegard of Bingen’sOrdo virtutum in a fusion performance combining earlyMedieval plainchant with

SOUNDbytes


SSaann FFrraanncciissccoo

RReennaaiissssaannccee VVooiicceess Todd Jolly, Music Director

JJooiinn uuss ffoorr oouurr 22000099 SSeeaassoonn!! PPaalleessttrriinnaa && tthhee IIttaalliiaann SScchhooooll

TThhee AAllll AAlllleeggrrii CCoonncceerrtt Missa che fa oggi il mio sole

Lamentations of Jeremiah

Miserere

MMaarrcchh 2288 && 2299,, AApprriill 44

TThhee DDaarrkknneessss && TThhee DDaawwnn Giovanni Matteo Asola’s Requiem for men’s voices

& music for women’s voices

by Sister Chiara Margarita Cozzolani

JJuunnee 1133 && 1144

TThhee BBaawwddyy && TThhee CChhaassttee Palestrina’s Missa Sicut lilium inter spinas (5) with

Adriano Banchieri’s comic Festino Madrigals

performed as a semi-staged masque

AAuugguusstt 88 && 99 Concerts in San Francisco & other Bay Area venues

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Send Us Your News!Sound Bytes Spring 2009Deadline: December 31

Sound Bytes tries to cover earlymusic news and newsmakers ascompletely as possible, but wecannot publish every news item.All materials must include aname, date, and contact number.Send news to Sound Bytes,EMAg, 2366 Eastlake Ave. East,#429, Seattle, WA 98102; e-mail: [email protected](include “Sound Bytes” in subjectline). Digital photos may be sentby e-mail as 300 dpi TIFF or JPEG images in color or b&w.

Continued on page 54


traditional music and dance ofIndia. Performances tookplace in the Bay Area in August.

The 11th annual WilliamByrd Festival took place inAugust in Portland. Over thecourse of two weeks, Can-tores in Ecclesia, directed byDr. Richard Marlow (TrinityCollege, Cambridge, Eng-land), performed five liturgi-cal services. Other festivalevents included concerts,illustrated recitals, and lec-tures. Aside from the openingand closing concerts, atten-dance required only a freewilloffering from attendees.

As part of the NorthAmerican British Music Stud-ies Association biennial con-ference, held in Toronto inAugust, The Musicians inOrdinary performed “Fires,Floods and Flowers: Music

from Two English Renais-sances.” They were joined bymembers of the Pax ChristiChamber Choir for this pro-gram of lute songs and partsongs. The Musicians in Ordi-nary’s first concert of the newseason, “Guard My Cows,”continued its naturalist theme,this time offering 17th-centu-ry Spanish and Mexicanmusic at Heliconian Hall inOctober.

HappeningsGotham Early Music

Scene presented its secondannual festival of showcaseconcerts in New York City inSeptember. Nine early musicensembles performed in threeconcerts at The TimesCenterStage. Suzanne Bona, host ofNPR’s Sunday Baroque, provid-ed brief introductions and

commentary for Dodd StringQuartet, Anima, East of theRiver, New York Polyphony,Grenser Trio, Ex Umbris,BaroQue Across the River,Callisto Ascending, and TheGrand Tour Orchestra.

Sequentia, directed byBenjamin Bagby, performed ashort program of pieces fromthe Carmina Burana manu-script (c. 1230) as a pre-con-cert “warm-up act” for theBoston Symphony Orches-tra’s November performancesof Carl Orff ’s Carmina Burana(1937), which was directed byRaphaël Frühbeck de Burgos.

Drew Minter and MaryAnne Ballard are directing a50th anniversary productionof The Play of Daniel at TheCloisters in New York onDecember 20 and 21. Theproduction commemoratesthe pioneering 1958 produc-tion by The New York ProMusica under the direction ofNoah Greenberg.

Très. performed “The Vir-tuosic Violin,” Baroque triosonatas and basso continuo,in October in Salem, MA.Lisa Brooke, Daniel Rowe,Deborah Rentz-Moore, andMichael Beattie, the membersof Très., were joined by guestviolinist Dana Maiben.

During their Octoberconcerts, the PhiladelphiaBar oque orchestra Tempestadi Mare performed the mod-ern world premieres ofChristoph Graupner’s Sym-phony in G and ReinhardKeiser’s Concerto in D.

In October, Tucson’sMusica Sonora (ChristinaJarvis, director; ChristopherJackson, assistant conductor)treated audiences to excerptsof the plays of William Shake-speare, sung and spoken, andfrom the works of ThomasMorley, Robert Johnson,Matthew Harris, and OrlandoGibbons.

Early Music Colorado’sFall Festival of Early Musicreturned for its 16th year thisOctober with a Fridayevening concert of music forthe viola da gamba performedby Ann Marie Morgan, fol-lowed by a Saturday packedwith music, workshops, andpresentations at the BoulderPublic Library, all of whichculminated in a chambermusic concert performed bysoloists from the BaroqueChamber Orchestra of Colorado.

Barthold Kuijken openedhis first full season as artisticdirector of the IndianapolisBaroque Orchestra byinviting two special guests:Rich ard Seraphinoff andCeleste Holler, natural hornsoloists. They joined the IBOin “Cornucopia,” a programof orchestral music by Vival-di, Telemann, Pisendel, andStamitz.

In conjunction with “Ben-jamin Franklin and the Inven-tion of America,” a confer-ence staged by HumanitiesWest in San Francisco, CA,Dennis James (MusicaCuriosa) gave an October lec-ture/performance, “Glass-icalMusick,” on Franklin’s inven-tion, the glass “armonica.”

MusicSource’s Septemberpresentation of “Johnny CockThy Beaver” was a salaciousromp through London per-formed by David Sego (earlyviolin), Josh Lee (viols), andGilbert Martinez (virginals,organ). The Berkeley, CA,center followed this withmusicologist and harpsi-chordist Davitt Moroney per-forming newly discoveredworks from a keyboard manu-script recently acquired by theHargrove Music Library atUC Berkeley.

In “Music for Ud andLute: The First 600 Years,” aNovember concert in Seattle,

SOUNDbytesContinued from page 10

Musicians in Ordinary


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Münir Beken (Turkish ud)and August Denhard (lute)offered selections of 13th-century Medieval and Renais-sance dance music, Ottomancourt music, Elizabethan ballads, Arabic folk music,Italian Renaissance poly -phony, and contemporary compositions.

In October, the TorontoConsort performed “TheMarco Polo Project,” a pro-gram that traced the musicalroute the explorer might havetaken across Asia to Cathayand then back to his nativeVenice. The ensemble wasjoined by Wen Zhao, pipa;YuCheng Zhang, xun andxiao (traditional Chineseflutes); Yongli Xue, zheng(Chinese zither); and Kavka-sia, a traditional Georgianvocal trio led by Alan Gasser.

In MemoriamDon Angle, who delighted

audiences for years with hisscintillating arrangements ofpop music on the harpsi-chord, died in July 2008 aftera short battle with cancer.Angle studied at the BerkleeSchool (now College) ofMusic before taking a “tem-porary” job with harpsichordmaker William Dowd; he

stayed 28 years. Among themany venues where he enter-tained were at MerseburgerOrgeltage 2002, on AustrianRadio, at the Rodin Gallery inSeoul, South Korea, the JohnF. Kennedy Center for thePerforming Arts, the Cleve-land Museum of Art, andwith the Augusta (GA) PopsOrchestra, where he playedhis own keyboard arrange-ments with the orchestra.

Margaret F. Hood, fortepi-ano and harpsichord designerand maker, died in June 2008.In the 1970s, Hood began acareer as a builder of histori-cally correct reproductions ofearly keyboard instruments.She was an agent for Zucker-man Harpsichords beforefounding her own company,Margaret Hood Fortepianos.Her instruments and herscholarship earned her aninternational reputation as abuilder of exceptionally fineinstruments, particularlyreproductions of the pianosof Nannette Streicher. Herpublications included workson Beethoven and the instru-ments of his time, as well astwo technical manuals, onefor the repair and mainte-nance of harpsichords, theother for fortepianos.

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Bo�on Early Music Fe�ivalJune 8–14, 2009

featuring Christoph Graupner’sBaroque opera masterpiece

Paul O’Dette and Stephen Stubbs, Musical DirectorsGilbert Blin, Stage Director

With Holger Falk, Gillian Keith, Marcus Ullman, Tuva Semmingsen,Christian Immler, William Sharp, William Hite, Amanda Forsythe,

and the Grammy-nominated Boston Early Music Festival Orchestra and Chorus

June 9-14, 2009Cutler Majestic Theatre

at Emerson College219 Tremont Street in Boston, MA

June 19-21, 2009Mahaiwe Performing

Arts Center14 Castle Street in Great Barrington, MA

Buy your tickets today at WWW.BEMF.ORG or 617-661-1812!

“A resounding success.” – Opera News

Toronto Consort

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